Point 1: This an improv disc in its purest sense. Point 2: This is free jazz fusion aka thought-flow-moments of genius interconnected with random-branching fibers of amorphous yet focused noodling. Point 3: This is introspective, rainy day in mid-March, sonambulistic wanderings in a dark cellar with Lovecraftian slitherings shifting unseen in the black corners type of music. Point 4: This is not extended high-energy, unison lines, steel-melting fusion but is a viscous wall-of-notes and twisted echoes from a fever dream spiced with myriad lightning-strike solos. Point 5: This is experimental fusion leaning towards that progressive rock-in-opposition realm but I call it freeform-fusion-in-opposition aka "FFIO" pronounced "Phfee-Yeeoh" Point 6: This is Scott and Michael playing with various effects-toys to warp their instruments' voicings into many odd-ball languages that show great technique but will weird-out many folks quickly. Point 7: This disc shows McGill in a more textural, soundscape, reactionary setting to Manring and Stevens interacting. McGill leads less obviously but is more a supportive, symbiotic, synergistic player this go round. In fact, I felt that Manring's long-standing jazz sense and singular style drove most all the disc's flow. Think Thonk "II" with McGill special guesting. Yeah, I said it. Point 8: This is not a power trio but instead a 3-headed "FFIO"-welding monstrosity spouting forth a brain-twisting, neuron-overload, and gut-wrenching volley of threateningly obscure din and drone. Point 9: This disc 1 will challenge many an ear and disappoint those out there seeking typical Holdsworthian heavy-fusion flourishes of riffage and eclectic chordal bliss. Point 10: This disc may be declared "genius" and birth a new school of jamming some day years later but for now consider it a vague echo of the weirdness factor that T Tech got into a huge way on Rocket Science. Point 11: This is a great disc for bass players to study and see Manring excel as he always does. This is a great disc for drummers to see what a challenge this type music is and how well Stevens pulls it off. This is a disc for McGill completists or Fripp/Frissell fans to hear an unheard side of this fine Irish axe-man. Point 12: I hope disc 2 (acoustic/"Left Brain") is more focused and accessibly structured as disc 1 left me in dire need of such.

Again the majority of the aforementioned pieces are introspective and angst-laden as on much of CD 1. Yet a certain dreamy forlorn meander down lost-childhood's memory lane, misty mornings hangovers, late afternoon ennui, spider webs aglisten with dew, wind gusts and mini-vortices of harvest's-end, dust in Autumn, crimson leaves racing across the backcountry trail, a certain chill circles one's bones . . . you get the picture.

I preferred the Indo-acousto-world fusion moments on disc 2 as the most soul-fire and intensity was here. McGill approached McLaughlinesque/Coryellian sacred grounds on track three, a jazzy Shakti-ish excursion. Oh for more of that Scott  please! But alas only 3 tracks offered such fire. Track 4 follows the fire with contemplation and lotus petals amongst the drones  a great raga with the highest soul-travel quotient. Don't tell me our bodies are not temples of worship  been there, done that, and have known His presence of Shekinah glory, ever-looking forward to seeing the throne of the Eternal One, YHWH. (Now you see what the right-frame-of-mind music can do to one's head!)

Synopsis, CD 2: Laid-back with occasional outbursts and offerings of "Wow!" . . . and herewith McGill clearly and deftly shows his widening breadth of guitaristry and expression. Say, "When's the last time Holdsworth dared record anything acoustic?" Think about dem apples! This is a bold step for McGill and for that alone, he gets my two-thumbs-up salute.

Addenda/Final thoughts: McGill used to play in a very different style prior to Manring. He gained most of his current fanbase apart from Manring's influence. Controlled by Radar is a not what most of his fanbase expects of him.

Yet we don't want nor need another Holdsworth/Connors clone CD release by anyone! Good Lord! Our fusion collections have enough of that already. We all expected McGill to grow and mature his sound. But we fusion folk are very human, habit-driven animals. We simply remember a different McGill fondly and perhaps awaited more clear references to his past releases. If McGill has found a new way to answer his Muse then, "Hurrah! Go for it!" If it is commercially successful then that's even better.

This phenomenon of artists "branching out" and fans being less than thrilled has been happening in the music biz for decades. So what if fans/critics don't dig the evolutionary step. It's no big deal. Artists expect it. Fans know it happens. Life goes on.

I love jazz because it rewards careful listening. Jazz can be as deep and complicated and deep as classical music, but with a sense of modernity and FUN. It swings!
My parents listened to jazz a little bit

I love jazz because it rewards careful listening. Jazz can be as deep and complicated and deep as classical music, but with a sense of modernity and FUN. It swings!
My parents listened to jazz a little bit. Then in high school I got a crush on my best friend's older brother, who was a huge jazz fan. He turned me on to Miles Davis' Bitches Brew (which was also the first album I ever bought) and the rest is history. I've met many musicians. It's a joy to live in NYC where there is such a vital community and lots of interaction between players and audience.
The best show I ever attended was... God, there have been so many great ones. My absolute favorite might be the John Lurie tribute concert at the Town Hall. Was it 2013 or 2014? I've been a huge Lounge Lizards fan since the '90s, and many of my favorite local musicians are graduates of that band. It was a joy to see so many of them come out and show their love for John Lurie. Even though he doesn't play sax anymore, he is still a presence. There was so much LOVE in that show. And since the Lounge Lizards don't perform anymore, it was a treat to hear their music live again.
My advice to new listeners... JUST KEEP LISTENING. If you're used to repetition and easy hooks of rock or pop music, you might find it challenging at first to float along with the unpredictability of jazz. But the rewards are worth it! You will learn to listen actively, not passively, and as you tune your mind into every note, texture, and harmony, you'll begin to listen to music in a new and different way. At the best live shows, it's almost a meditative experience for me. My mind just trips out on the music. It's pure bliss, even if the music is abrasive or
challenging.
Also, don't be afraid to LISTEN TO ARTIST YOU'VE NEVER HEARS OF BEFORE. The greats like Miles Davis, John Coltrane, Duke Ellington, etc. are famous for a reason. Their music stands the test of time. But there are so many young artist pushing the boundaries and creating their individual style. You might not love every show or album you listen to, but you'll discover so much. Jazz is not a museum piece--it's a living, breathing art form with almost infinite possibilities.
Finally, if you love the music, PARTICIPATE IN THE ECONOMY. Buy some new CDs instead of streaming everything. Go to live shows and pay the ticket price. Even if it's donation only and you can sneak in for free, remember that most of these artists have years of training and have devoted themselves to an obscure art form out of pure love. Playing music is their job. You get paid for your job, and musicians deserve to get paid too.